The members of Dengue Fever are, from left, Ethan Holtzman, Senon Williams, Zac Holtzman, Paul Smith, David Ralicke and Chhom Nimol. By R J SMITH
January 20, 2008
LOS ANGELES
DENGUE FEVER is a Los Angeles band featuring a Cambodian-born singer and five American alt-rockers who regularly embarrass her onstage. On the cover of its new album, “Venus on Earth” (M80), the guitarist Zac Holtzman, with a long beard and goggles, drives a scooter with the vocalist Chhom Nimol sitting demurely behind him sidesaddle, the way a good Cambodian girl would ride through the streets of Phnom Penh. Dengue Fever, which specializes in an unlikely mix of 1960s Cambodian pop, rock and other genres, is a lot like that image. Propriety and smart aleck indie rock race by, blurring together.
It is a band of rollicking lightness that keeps coming up deep. At a recent show in the Echo Park neighborhood here, the male members were downright goofy, but Ms. Chhom, singing mostly in Khmer and dressed in shimmering Cambodian silk garments she designs herself, looked like old-school royalty, a queen before the hipoisie. No wonder she seemed to roll her eyes from time to time onstage. But after the set, when she lighted a candle onstage to honor those killed by the Khmer Rouge, her voice broke and tears ran down her face.
“I think we balance each other out,” Mr. Holtzman said in a recent interview. “She’ll bring the whole place to a hush, and that would be a long night if it was just that. And then we smash the place up.”
Dengue Fever formed after the Farfisa organ player Ethan Holtzman, Zac’s brother, traveled to Cambodia in 1997, discovered ’60s Cambodian pop and returned with a stack of cassettes. This was not the sort of roots-driven folk sounds ethnomusicologists crave; this was locally produced, gleefully garish trash infused with the surf guitar and soul arrangements that Armed Forces Radio blasted across the region during the Vietnam War. It flourished until the Khmer Rouge came to power in the 1970s and functionally dismantled Cambodian culture.
Dengue Fever’s music is a tribute to that lost pop. But the six members of Dengue Fever form a quintessential Los Angeles crew, with a mix of backgrounds and interests that seems fitting in a region with the largest Cambodian population in the United States (in Long Beach, south of downtown Los Angeles) and a flourishing indie rock scene (in the hills east of Hollywood). The band is the musical equivalent of that ultimate modern Los Angeles marker, the polyglot strip-mall sign. It too offers a cultural mash-up; beyond the obscure Cambodian pop you can hear psychedelia, spaghetti western guitars, the lounge groove of Ethiopian soul and Bollywood soundtracks. “Seeing Hands,” on the new album, has an almost Funkadelic groove, while “Sober Driver” is an all but emo complaint about a guy who drives the cute girl everywhere and gets nowhere.
Now Dengue Fever is starting to make its mark far from its hometown. The band recently returned from the Womex world music festival in Seville, Spain, where it was one of a handful of acts to play showcase performances. British publications have included it in “next big thing” roundups, and Dengue Fever’s songs have been on television and film soundtracks, including Jim Jarmusch’s “Broken Flowers.” A new documentary, “Sleepwalking Through the Mekong,” that follows the group on its first trip as a band to Cambodia, seems likely to gain it further notice. (It plays the Mercury Lounge on the Lower East Side on March 4, and at Southpaw in Brooklyn on March 5.)
“The underground people are getting hip to world music, and the world music side is getting hip to how you don’t have to have a dreadlock wig and Guatemalan pants to be cool,” said the bassist Senon Williams, sitting in his backyard with Ms. Chhom and Zac Holtzman.
“Now that Nimol is going to start singing more in English,” he added, “it’s making new things possible for us. Nimol really wants to connect with the American audience more now.”
Dmitri Vietze, a publicist and marketer for many global music acts, sees the band as “part of a larger developmental pattern” in world music. “Can you stick them in the world-music bin at brick and mortar retail stores?” Mr. Vietze asked. “I don’t know. But as far as how they fit into world music in a larger philosophical context, they are a part of a huge and promising future.” He noted that the American market had been introduced to world sounds most often by American artists who love and emulate them, like Paul Simon. Now, he said, he sees a movement toward music made and influenced by émigrés: “We’re seeing more and more bands like Dengue Fever.”
Ms. Chhom speaks in broken English that her band mates struggle to first understand and then interpret for a reporter. Born in Battambang, Cambodia, Ms. Chhom moved to Long Beach in 2000, when she was 21. Both her parents were wedding singers, and she followed in the family business. An invitation to sing in Minneapolis brought her to America, and her sister, already living in Long Beach, introduced her to the local dinner-club scene.
Ms. Chhom stressed how important the music that inspired the Holtzman brothers was to her when she was growing up. One favorite is the great Khmer pop singer Sinn Sisamouth, who sang with Ms. Chhom’s father on a movie soundtrack. Sinn Sisamouth was a royal court singer of ballads in the 1950s who by the end of the ’60s was called “the king of Cambodian rock ’n’ roll,” with a queasy garage sound and a mellow nod to Nat King Cole, reinventing the rock wheel on a Pacific rim. Sinn Sisamouth disappeared after the Khmer Rouge took over. An artist close to the old government of Prince Norodom Sihanouk, he is said to have died in a labor camp.
Bouncing Mr. Williams’s 1-year-old son on her knee, Ms. Chhom seemed a little bored with the interview process, her deftly drawn eyebrows often forming a skeptical V. She already had a reputation as a singer in Cambodia when she auditioned, along with several other Cambodian women, for Dengue Fever in 2001. When her competitors saw her, Zac Holtzman said, they politely excused themselves, assuming she would automatically get the gig. In 2002, while Dengue Fever was recording its debut album, Ms. Chhom was stopped in a routine check by immigration agents during an orange alert and was detained for having a lapsed green card. She spent 22 days in confinement, and upon her release sang endless nights in a Cambodian dance club in Long Beach called the Dragon House to pay off her legal fees. The band’s second album was titled “Escape From the Dragon House,” a reference to Ms. Chhom having paid off her legal fees and putting her immigration troubles behind her.
As far as connecting with her band mates, that’s still a work in progress. When they first started playing together they had to establish a sense of trust across language and cultural barriers. Now they hang out sometimes after a show, but even socializing can be complicated.
“Sometimes I go out ,and I like to dance because in Cambodia I could never go to clubs and dance like that,” Ms. Chhom said.
Zac Holtzman responded, “There’s always a few nights on tour when we go out and do a few clubs and some dancing ——”
Ms. Chhom interrupted emphatically : “I don’t want to talk, I want to dance. And these guys all like to talk. I know it’s the American style, they like to drink and talk and talk, but to those people I just say, ‘Hi, bye, let’s go dance.’ ”
Older generations of Cambodians in California are sometimes critical. “They don’t want me to show off too much of my dress,” she said. “They always tell me, ‘Don’t forget you’re a Cambodian girl.’ ” But the younger generation responds to Dengue Fever and even breakdances to its reinvention of a mongrel music that is itself a reinvention of a mongrel music from the West.
Folk music it’s not, but in one crucial way Dengue Fever has folk resonances. To Ms. Chhom and other young Cambodians in the States, pop singers like Sinn Sisamouth and Ros Sereysothea, who died in a labor camp in Cambodia in the 1970s, hit a nerve that blues singers or hillbilly bands do for many Americans: the music takes listeners back home, to a home that doesn’t precisely exist anymore.
“Sleepwalking Through the Mekong,” directed by the Los Angeles filmmaker John Pirozzi, shows what happens when that 1960s pop makes its way back across the Pacific. It follows Dengue Fever on a 2005 trip to Cambodia, and in the penultimate scene the band sets up a stage in a slum full of corrugated shacks and plays a concert. The reaction is festive at times, but there are also some slack-jawed, unreadable expressions. Whether that’s the impact of lost pop music coming back to life or the surreality of American rockers dropping down from postmodern Los Angeles, is a question the band is smart enough to leave unanswered.
January 20, 2008
LOS ANGELES
DENGUE FEVER is a Los Angeles band featuring a Cambodian-born singer and five American alt-rockers who regularly embarrass her onstage. On the cover of its new album, “Venus on Earth” (M80), the guitarist Zac Holtzman, with a long beard and goggles, drives a scooter with the vocalist Chhom Nimol sitting demurely behind him sidesaddle, the way a good Cambodian girl would ride through the streets of Phnom Penh. Dengue Fever, which specializes in an unlikely mix of 1960s Cambodian pop, rock and other genres, is a lot like that image. Propriety and smart aleck indie rock race by, blurring together.
It is a band of rollicking lightness that keeps coming up deep. At a recent show in the Echo Park neighborhood here, the male members were downright goofy, but Ms. Chhom, singing mostly in Khmer and dressed in shimmering Cambodian silk garments she designs herself, looked like old-school royalty, a queen before the hipoisie. No wonder she seemed to roll her eyes from time to time onstage. But after the set, when she lighted a candle onstage to honor those killed by the Khmer Rouge, her voice broke and tears ran down her face.
“I think we balance each other out,” Mr. Holtzman said in a recent interview. “She’ll bring the whole place to a hush, and that would be a long night if it was just that. And then we smash the place up.”
Dengue Fever formed after the Farfisa organ player Ethan Holtzman, Zac’s brother, traveled to Cambodia in 1997, discovered ’60s Cambodian pop and returned with a stack of cassettes. This was not the sort of roots-driven folk sounds ethnomusicologists crave; this was locally produced, gleefully garish trash infused with the surf guitar and soul arrangements that Armed Forces Radio blasted across the region during the Vietnam War. It flourished until the Khmer Rouge came to power in the 1970s and functionally dismantled Cambodian culture.
Dengue Fever’s music is a tribute to that lost pop. But the six members of Dengue Fever form a quintessential Los Angeles crew, with a mix of backgrounds and interests that seems fitting in a region with the largest Cambodian population in the United States (in Long Beach, south of downtown Los Angeles) and a flourishing indie rock scene (in the hills east of Hollywood). The band is the musical equivalent of that ultimate modern Los Angeles marker, the polyglot strip-mall sign. It too offers a cultural mash-up; beyond the obscure Cambodian pop you can hear psychedelia, spaghetti western guitars, the lounge groove of Ethiopian soul and Bollywood soundtracks. “Seeing Hands,” on the new album, has an almost Funkadelic groove, while “Sober Driver” is an all but emo complaint about a guy who drives the cute girl everywhere and gets nowhere.
Now Dengue Fever is starting to make its mark far from its hometown. The band recently returned from the Womex world music festival in Seville, Spain, where it was one of a handful of acts to play showcase performances. British publications have included it in “next big thing” roundups, and Dengue Fever’s songs have been on television and film soundtracks, including Jim Jarmusch’s “Broken Flowers.” A new documentary, “Sleepwalking Through the Mekong,” that follows the group on its first trip as a band to Cambodia, seems likely to gain it further notice. (It plays the Mercury Lounge on the Lower East Side on March 4, and at Southpaw in Brooklyn on March 5.)
“The underground people are getting hip to world music, and the world music side is getting hip to how you don’t have to have a dreadlock wig and Guatemalan pants to be cool,” said the bassist Senon Williams, sitting in his backyard with Ms. Chhom and Zac Holtzman.
“Now that Nimol is going to start singing more in English,” he added, “it’s making new things possible for us. Nimol really wants to connect with the American audience more now.”
Dmitri Vietze, a publicist and marketer for many global music acts, sees the band as “part of a larger developmental pattern” in world music. “Can you stick them in the world-music bin at brick and mortar retail stores?” Mr. Vietze asked. “I don’t know. But as far as how they fit into world music in a larger philosophical context, they are a part of a huge and promising future.” He noted that the American market had been introduced to world sounds most often by American artists who love and emulate them, like Paul Simon. Now, he said, he sees a movement toward music made and influenced by émigrés: “We’re seeing more and more bands like Dengue Fever.”
Ms. Chhom speaks in broken English that her band mates struggle to first understand and then interpret for a reporter. Born in Battambang, Cambodia, Ms. Chhom moved to Long Beach in 2000, when she was 21. Both her parents were wedding singers, and she followed in the family business. An invitation to sing in Minneapolis brought her to America, and her sister, already living in Long Beach, introduced her to the local dinner-club scene.
Ms. Chhom stressed how important the music that inspired the Holtzman brothers was to her when she was growing up. One favorite is the great Khmer pop singer Sinn Sisamouth, who sang with Ms. Chhom’s father on a movie soundtrack. Sinn Sisamouth was a royal court singer of ballads in the 1950s who by the end of the ’60s was called “the king of Cambodian rock ’n’ roll,” with a queasy garage sound and a mellow nod to Nat King Cole, reinventing the rock wheel on a Pacific rim. Sinn Sisamouth disappeared after the Khmer Rouge took over. An artist close to the old government of Prince Norodom Sihanouk, he is said to have died in a labor camp.
Bouncing Mr. Williams’s 1-year-old son on her knee, Ms. Chhom seemed a little bored with the interview process, her deftly drawn eyebrows often forming a skeptical V. She already had a reputation as a singer in Cambodia when she auditioned, along with several other Cambodian women, for Dengue Fever in 2001. When her competitors saw her, Zac Holtzman said, they politely excused themselves, assuming she would automatically get the gig. In 2002, while Dengue Fever was recording its debut album, Ms. Chhom was stopped in a routine check by immigration agents during an orange alert and was detained for having a lapsed green card. She spent 22 days in confinement, and upon her release sang endless nights in a Cambodian dance club in Long Beach called the Dragon House to pay off her legal fees. The band’s second album was titled “Escape From the Dragon House,” a reference to Ms. Chhom having paid off her legal fees and putting her immigration troubles behind her.
As far as connecting with her band mates, that’s still a work in progress. When they first started playing together they had to establish a sense of trust across language and cultural barriers. Now they hang out sometimes after a show, but even socializing can be complicated.
“Sometimes I go out ,and I like to dance because in Cambodia I could never go to clubs and dance like that,” Ms. Chhom said.
Zac Holtzman responded, “There’s always a few nights on tour when we go out and do a few clubs and some dancing ——”
Ms. Chhom interrupted emphatically : “I don’t want to talk, I want to dance. And these guys all like to talk. I know it’s the American style, they like to drink and talk and talk, but to those people I just say, ‘Hi, bye, let’s go dance.’ ”
Older generations of Cambodians in California are sometimes critical. “They don’t want me to show off too much of my dress,” she said. “They always tell me, ‘Don’t forget you’re a Cambodian girl.’ ” But the younger generation responds to Dengue Fever and even breakdances to its reinvention of a mongrel music that is itself a reinvention of a mongrel music from the West.
Folk music it’s not, but in one crucial way Dengue Fever has folk resonances. To Ms. Chhom and other young Cambodians in the States, pop singers like Sinn Sisamouth and Ros Sereysothea, who died in a labor camp in Cambodia in the 1970s, hit a nerve that blues singers or hillbilly bands do for many Americans: the music takes listeners back home, to a home that doesn’t precisely exist anymore.
“Sleepwalking Through the Mekong,” directed by the Los Angeles filmmaker John Pirozzi, shows what happens when that 1960s pop makes its way back across the Pacific. It follows Dengue Fever on a 2005 trip to Cambodia, and in the penultimate scene the band sets up a stage in a slum full of corrugated shacks and plays a concert. The reaction is festive at times, but there are also some slack-jawed, unreadable expressions. Whether that’s the impact of lost pop music coming back to life or the surreality of American rockers dropping down from postmodern Los Angeles, is a question the band is smart enough to leave unanswered.
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